There’s a fundamental contradiction in my relationship with Akane-banashi. To wit, I like the series better the less the protagonist is in it. This is a problem for obvious reasons – I mean, it’s not a “name above the title” thing, her name is the title. She’s all over the plot. And this is not only a problem for me as a reader-viewer, but also in terms of covering the series. If I go too deeply into why this contradiction exists, I run the risk of going into spoiler territory. I guess I can go so far as to say the issues I have are mostly in evidence this week, but I’m reluctant to get more specific than that.

The other problem I’m having with the adaptation itself is a little more straightforward. And to be honest, it wouldn’t even be a problem with a non-auteur director involved. But I can’t un-know that Watanabe Ayumu is in charge here. And I can’t unsee all the really stylish and inventive stuff he’s done when really engaged. I mean, this is perfectly fine after two episodes – a solid, by the book production and adaptation. But if I didn’t know Watanabe was directing, I’d certainly never have guessed from what we’ve seen so far. I just don’t get much style or invention from these two episodes. Watanabe is known to be pretty hands-off with some of his assignments, and – especially with Witch Hat in production more or less concurrently – I wonder if that’s especially true here.

Any show built around rakugo – and in-show rakugo performances – is to an extent going to live or die based on those. I hope we see the ante upped on flourish there, because the three performances so far have mostly been on the flat side. We get two this week, which is set after a six year trime skip. Akane is now sixteen going on seventeen, and a third-year in high school. She’s been begging Shiguma-san to take her on as an apprentice for that entire time. So much so that their illicit meetings for unofficial coaching have led to rumors the old man has a young lover. His zenza apprentice Guriko decides to tail his master and find out, but what he sees in that karaoke parlor is obviously quite different.

Shiguma gives Akane her chance when a local rakugo cafe calls for help when their scheduled performer is delayed. Akane takes it and naturally (don’t get me started) the audience loves her. She decides to do “Scared of Manju”, a comic rakugo classic but not necessarily one a 16 year-old rookie would be expected to choose. Nagase Anna (definitely now one of anime’s it-girls) does perfectly fine with this. But again, there’s not much snap to it, at least for me. Did Rakugo Shinjuu spoil me? Maybe. Also, given that this was supposed to be Akane’s first stage performance it’s appropriate that it wouldn’t be spectacular. But then, having that be the case but the audience react as if it was is having your cake and eating it too (and cuts to the heart of some issues I have with Akane-banashi – both the character and the series).

Happily, the third performance of the series so far – by Isshou’s futatsume apprentice Kaisei, who Akane was replacing – livens things up. It is the best so far, but then it should be – so is Kaisei, in story. He has a style Guri-chan describes as “sensual”, and he shows it off with a performance of “Keikoya” (The Practice Room). In it Kaisei plays both a demure and seductive woman (his trademark) and an oafish townsman trying to learn how to sign so he can attract the chicks. Because of Kaisei’s ability to portray women so well, his louts and dullards are that much more comedically impactful.

Kaisei is kind of obnoxious, and arrogant too – though as a 20 year-old futatsume (promoted at 19) it’s not surprising. But he’s the sort of character that makes Akane-banashi the most interesting in my view – the more sharp edges and flavors it has, the better it works. Shiono Akihisa’s performance here is certainly the most charismatic so far, which is a hopeful sign. I’d also call out the use of “Southern All Stars” frontman Kuwata Keisuke – a true legend of the Japanese music scene and multi-talented performer and songwriter with an eclectic musical style – to do the OP and ED. Kuwata has no direct rakugo connections as far as I know but he just fits a rakugo show like a glove.